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The Basque Country sees a 50.5% rise in audiovisual employment from 2014 to 2024, as the region attracts more film and TV production.

The Basque Country is witnessing a notable surge in its audiovisual industry, as confirmed by a report from Variety. Employment in the sector in Bizkaia alone increased by 50.5% between 2014 and 2024. Furthermore, the number of companies related to film and television production grew from 284 to 448 during this period.
In 2025, the Bilbao Bizkaia Film Commission supported 219 film and television shoots, which are expected to have a substantial economic impact estimated at €138.1 million (around $158.45 million). This influx of production activity is reshaping the landscape of the Basque audiovisual ecosystem.
With this growing sector, discussions have arisen regarding the definition of a Basque production. Xabi Berzosa from Irusoin, a San Sebastian-based production company, noted that a film produced by a local company qualifies as a Basque production legally. However, complications arise with international collaborations, such as Irusoin's co-production with Italian and French companies on Nanni Moretti’s upcoming film, "It Will Happen Tonight." Despite being labeled as Basque, Berzosa expressed doubts about whether such projects reflect the true essence of Basque filmmaking.
Koldo Almandoz, known for his work on Basque-language films, emphasizes the cultural significance tied to the notion of a Basque production, linking it not just to legality but to the intention behind the films. He raises concerns about productions that prioritize tax incentives over genuine local involvement, questioning whether such projects genuinely represent Basque culture.
The discussion around the identity and ownership of Basque productions includes varying views from industry experts. Iker Ganuza, president of the producers' association EPE-IBAIA, argues that the definition goes beyond where filming occurs. He points out that key factors include where decisions are made, the involvement of Basque talent, and the retention of economic value within the region. Ganuza emphasizes the importance of ensuring that international investments bolster, rather than displace, local companies.
Industry leaders acknowledge the positive economic impact of attracting international productions, which help create jobs and enhance visibility. However, there is also concern regarding the future of local operations if financial incentives change. Almandoz warns about the risks to existing infrastructures if smaller homegrown companies are absorbed into larger entities.
Both Berzosa and Ganuza advocate for the development of localized, established industries to ensure sustainable long-term growth. Ganuza hopes for a future where the Basque film industry retains ownership and creative control, steering clear of a service-oriented approach, which he describes as less beneficial for local development.
Language plays a critical role in these discussions. Both Berzosa and Ganuza highlight the importance of Euskara (the Basque language) in defining cultural films, urging that while stories can transcend language, safeguarding the Basque language remains a priority in production narratives.
The current dialogue emphasizes a dual focus on attracting international projects while ensuring the integrity and longevity of Basque production. As the region prepares for its film industry future, stakeholders are looking toward not only immediate opportunities but also a long-term vision for 2030 and beyond.
This development in the Basque film industry highlights a growing recognition of the need to protect and bolster local talent while accommodating global film production trends.
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